But the character of the music emphasized the tale as allegory - humorous, poignant, humane allegory… — Robertson Davies

People who talk a lot about their troubles never commit suicide; talk's the greatest safety-valve there is. I always laugh at that bit in Hamlet where he pretends to despise himself because he unpacks his heart with words, and falls a-scolding like a very drab; that's why the soliloquy about suicide is just Hamlet putting on intellectual airs. A chatterbox like that would never pop himself off with a bare bodkin. No, the suicides are the quiet ones, who can't find the words to fit their misery.

Pretence is wonderfully stimulating to the artistic mind, which is why some people lie for fun, rather than from necessity.

She was conscious also, and for the first time, of why Domdaniel was regarded as a great man in the world of music. He conducted admirably, of course, marshalling the singers and players, succouring the weak and subduing the too-strong, but all that was to be expected. It was in his capacity to demand more of his musicians than might have been thought prudent, or even possible - to insist that people excel themselves, and to help them to do it - that his greatness appeared. With a certainty that was itself modest (for there was nothing of "spurring on the ranks" about it) he took upon himself the task of making this undistinguished choir give a performance of the Passion which was worthy of a great university. It was not technically of the first order, but the spirit was right. He had been a great man to Monica, for he could open new windows for her, letting splendid light into her life; but now she saw that he could do so for all these clever people, who thought themselves lucky to be allowed to hang on the end of his stick. Without being in the least a showy or self-absorbed conductor he was an imperious, irresistible and masterful one.